Textile intervention: It takes a space and steals its identity by possessing it; thus, it shows works in a way that the exhibit is the main protagonist. This show makes use of sensorial recourses, profusion, and exuberance to achieve its goal as the first textile fantasy inter-building intervention in Costa Rica.
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El título, logo, nombres de obras, curación y demás elementos de “Metamorfosis, un nuevo ciclo” son parte sine-qua-non de esta obra intervención y son propiedad intelectual de Silvia Piza-Tandlich y no pueden ser usados ni alterados sin la autorización escrita de la autora. Derechos reservados.The title, logo, artwork names, curation and all elements of “Metamorphosis, A New Cycle” are sine-qua-non part of this intervention work and are the intellectual property of Silvia Piza-Tandlich and therefore, they cannot be used or altered without written consent of the author. All rights reserved.

La Colectiva Cerro Danta es un grupo comunitario creado por Silvia Piza-Tandlich. En la actualidad, lo conforman seis mujeres y sus familias. Los jÃ³venes de la Colectiva se integraron desde muy pequeÃ±os.The Cerro Danta Collective is a community group created by Silvia Piza-Tandlich. Nowadays it is formed by six women and their families. The Collective youngsters came to the group since they were very young.

Metaformosis es una obra que semeja los mÃ³viles de Calder, pues cambia con el viento y el Ã¡ngulo desde el cual se aprecie. AlfagÃ¼ell especifica que son nueve piezas libres para cada instrumento, en forma de “acontecimientos casuales” â€”cuatro de los cuales hacen alto contraste entre el arpa y la marimba.Mobile for harp and marimba. Metaphormosis is a work which resembles Calder’s mobiles, “because it changes with the wind and the angle from where you look at it.” AlfagÃ¼ell specifies that there are nine free-style pieces for each instrument in the form of “casual happenings”â€”four of them offering high contrast between harp and marimba.

Para el concierto estreno, el arpa estarÃ¡ colocada en la torre, mientras que la marimba estarÃ¡ en la cocina. Aprovechando la acÃºstica natural del lugar (la cual, por cierto, serÃ¡ amortiguada un poco por la cantidad de obras textiles en exhibiciÃ³n), Mario espera lograr una comuniÃ³n a ciegas entre los dos instrumentos. Este diÃ¡logo es interesante debido a la forma aleatoria en que cada instrumentista escoge sus piezas, pues no estÃ¡ especificado cuÃ¡l pieza deben tocar en determinado momento.For the premier concert, the harp will be placed at the tower, while the marimba will be in the kitchen. Taking advantage of the natural acoustics of the site (which by the way, we expect to diminish a bit due to so many textile pieces in exhibition,) Mario hopes to achieve a blind communion between the two instruments. This dialogue is interesting due to the aleatory way in which each musician chooses her pieces, because it is not specified which piece they must play at any given moment.

La grabaciÃ³n de esta obra es una obra de arte en sÃ­, realizada por Max Bravo (quien es artista de carrera y profesiÃ³n). Â¡Cabe explicar que por especificaciÃ³n del compositor, Ilse y Carmen no ensayan ni graban al mismo tiempo!The recording of this work is a masterpiece in itselfâ€”made by Max Bravo, who is a professional artist. It must be explained that by composer’s specifications, Ilse and Carmen don’t get to rehearse, or record together!

El tÃºnel es un descubrimiento reciente en el Museo y toda esa secciÃ³n serÃ¡ abierta al pÃºblico posiblemente en setiembre de este aÃ±o.The tunnel is a new discovery at the Museum, and hopefully that section will be open to the public in September this year.
La foto de arriba muestra una celda encontrada durante la excavaciÃ³n del tÃºnel, en la cual se encontrÃ³ un pequeÃ±o botÃ³n â€”posiblemente del uniforme de algÃºn soldado.The photograph above shows a cell found during the excavation of the tunnel. In the cell a small button was found, possibly from the uniform of a soldier.

“Vestigios” en la celda, y unos 15 metros de tÃºnel estÃ¡n abiertos al pÃºblico, pero la nueva entrada y rampa al Cuartel no han sido inauguradas.“Vestiges” in the cell, and some 15 meters worth of tunnel are open to the public, but not so the new entrance and ramp to the Barracks, which haven’t been inaugurated.

Ilse Porras empieza sus estudios musicales en el Programa Juvenil de la Orquesta SinfÃ³nica Nacional de Costa Rica â€”actual Instituto Nacional de MÃºsicaâ€” a la edad de ocho aÃ±os, donde conoce lo que serÃ¡ la pasiÃ³n de su vida: el arpa.Ilse starts her musical studies at the age of eight at the Youth Program of the Costa Rica National Symphony (presently called National Music Institute,) where she learns to play what becomes her life-long passion: the harp.

A temprana edad formÃ³ parte de la Orquesta SinfÃ³nica Infantil, de la Camerata, la Banda Avanzada del Instituto Nacional de MÃºsica y, mÃ¡s adelante, de la Orquesta SinfÃ³nica Juvenil de Costa Rica. Como miembro de esta orquesta, en el aÃ±o 2001, participÃ³ en el festival â€œAmericArtsâ€, en Washington D.C, presentÃ¡ndose tanto en el Concert Hall del Kennedy Center, como en la OEA en dicha capital. Al aÃ±o siguiente fue de gira a Interlochen Arts Academy, en Michigan, USA.At a young age she became a member of the Children’s Symphony Orchestra in Costa Rica, also playing in its Camerata, and later on became a member of the Costa Rican Youth Symphony, with which she participated in the â€œAmericArtsâ€ festival in Washington, DC and played at Kennedy Center’s Concert Hall, and at the OAS Headquarters at said capital city. The following year she attended Interlochen Arts Academy in Michigan, USA.